Spaceworks is a platform for makers, creators and businesses of all shapes and sizes. They have been on a mission to bring community driven work spaces to Bristol since 1985 and needed a rebrand and website to match.
Accountants, artists, engineers and more, Spaceworks has been housing, helping and supporting some of Bristol’s brightest brands. They know that when it comes to office rental, businesses need affordable spaces with the right support in place to help them grow.
The new identity by Rhombus nods to the past while looking forward, inspired by the diverse community of businesses who call Spaceworks their home.
The brand balances play with trust and accessibility, uniting makers, creators and businesses across Bristol.
The visual identity was built around the new logo, evolved from their geographical footprint in Bristol. The wider identity system uses more abstract evolutions of the logo to portray the businesses of all shapes and sizes that make up Spaceworks.
The colourway is an evolution of the green they launched with in 1985, as a nod to their rock-solid history. The typeface (aptly titled Founders Grotesk from Klim Type Foundry) is a sans serif with plenty of character, inspired by some of the buildings they have transformed over the years – grade 2, big hangars, small nooks and stained-glass windows.
Rhombus developed a verbal identity underpinned by three core pillars to express the brand: Supportive, Passionate and Dynamic. The output included a set of key messages to announce the new brand to Bristol and beyond, as well as writing tips to help the Spaceworks team communicate with consistency and flair.
In order to bring Spaceworks into the digital world, Rhombus developed a motion language that encapsulated the brand’s warmth, approachability and character, inspired by collaboration. Bounce. Grow. Support!
Spaceworks are the same today as they were when they started – committed to providing affordable, supportive spaces for diverse businesses in local communities: Easton, Barton Hill, St Phillips, Stokes Croft, St Jude’s and Bishopston.
Their new custom website is testament to this commitment, delivered in partnership with Papaya Studio – making it easier than ever to access workspaces and business support.
“Rhombus Studio created our new branding and website and we are delighted with the results. It was a thorough and carefully planned process and aside from creating some amazing visual assets, they took the time to understand our business and aspirations and created something that represents us very well.” – Spaceworks
Take a look at the website here and keep your eyes peeled for new signage rolling out across Bristol!
Siri Thomas is a project manager at Armadillo. Previously, Siri’s focus was TV journalism where she produced, wrote and reported for ITV News. She then pivoted to a marketing career at ethical travel company Canopy & Stars before moving to Armadillo to work on the McDonald’s account. Siri now manages some of our biggest campaigns, including the recent launch of Winning Sips – a new Monopoly-style promotion.
In her spare time, Siri enjoys all things second hand and thrifting. At weekends you’ll find her searching out the newest charity shops, vintage pop ups and coffee shops, or at a car boot sale somewhere in the South West. She loves clothes, interiors, music, the sea, and visiting European cities.
o Place of birth: Cornwall
o Hometown: A little fishing village on the South Coast of Cornwall
o Staycation: Camping in Cornwall or Glamping in Wales
o Vacation: I’m a sucker for a European city break – Bordeaux or Berlin are up there. Or snowboarding in the Alps
o Pet: Kooper the Tortoise
o Place of work: Armadillo in Bristol
o Place of workout: Jiu Jitsu in Bristol
o Side project: Reselling vintage homeware
o Mode of transport: (much to my dismay and despite having a car) Bus
o Bonus travel essential: SPF everyday
o Artist: Studio Lenca
o Musician: Current: Little Simz. OG: Prince. Always: Aretha Franklin
o Film director: Richard Curtis
o Photographer: My aunty – Sarah Falugo
o Film: About Time
o Series: Peaky Blinders
o Commercial: One that will always stand out is the Skoda Fabia cake advert – the concept and music are perfect
o Music video: Prince – Kiss
o Board game: I’m more of a tabletop gamer than video gamer – my current fave board game is Wingspan but I’m also a sucker for Monopoly Deal (iykyk)
o Book: SO HARD to answer – I’m a bit of a bibliophile so I have to list my top 5: A Little Life (still recovering) – Educated (wow) – Seven Husbands of Evelyn Huge (so fun) – The Nightingale (so emotional and powerful) – Time Travellers Wife (love it)
o Podcast: You’re Wrong About
o Newspaper (off or online): The Washington Post
o Magazine: The World of Interiors
o Bonus culture essential: I’ve actually presented my own podcast episode for ‘A Life More Wild’ where I chat to George Clarke about utopian towns and secret projects
o Breakfast: Eggs, avo and comte on toast
o Restaurant: Bulrush in Bristol
o Cheap bite: McDonald’s
o Working lunch: Usually leftovers or if not – a burrito from St Nicks Markets
o Favourite dish: Sushi
o Signature dish: Goats cheese and sweet potato lasagne
o Snack: Hot cross buns
o Bar: Cotto in Bristol – great 0% options and my best friend is often working so I get a good chin wag
o Booze: I’m a sober gal so no booze
o Not booze: Clear Head 0% beer or a 0% Aperol Spritz
o Bonus food: Pain au chocolat
o Bonus beverage: Elderflower cordial and fizzy water
o Phone: iPhone
o Computer: Macbook
o TV: No idea but it’s just a big one that my boyfriend had
o Headphones: Sony over the ears or Airpods
o Camera: iPhone or a 35mm Pentax from my photographer aunt
o Soundsystem: My boyfriend is an avid vinyl DJ so I’m spoilt for choice in this department
o Pen / pencil: Not fussy
o Where you document an idea: I write down everything and have kept a diary since I was eight
o Casual clothing: Every day is a day to dress up in my view – I am an avid second-hand shopper so all of my outfits are pre loved
o Smart clothing: I’m a sucker for a good pink suit
o Footwear: Either my Salomons, Wallabees or velvet Mary Janes
o Watch: Some £8 charity shop one
o Collection: I collect jugs – ideally vintage and am obsessed with car boot sales
o App: Vinted and Duolingo
o Website: eBay
o Favourite social media feed: TikTok
o Work programme: Google everything
o Digital work tool: Smartsheet
o Analogue work tool: My Project Management notepad
o Morning grooming / makeup essential: Le Labo perfume and SPF
o Bonus kit essential: I am never more than a metre away from a lip balm and hand cream
Article originally published on Little Black Book on 21/04/23
Istoria Group has today revealed the winner of its inaugural Micro Business Incubator Hub Competition – Self Agency, which was founded by Devon Lowndes with the aim of improving the lives of neurodivergent people in the Bristol area.
The idea behind the competition, launched in March 2023 on International Women’s Day, was to find a women-led micro business in the Bristol region to support by offering free office space over a six-month period at Istoria Group’s Paintworks offices; mentoring from the creative business group’s leadership team in business, financial management, PR and marketing, along with a raft of creative services, including a brand review by the group’s design agency Phoenix Wharf and a website build by its digital transformation experts Tiny Spark.
The competition was also supported by local organisations Babbasa and Black South West Network, ensuring news of the competition would reach groups who have traditionally been under-represented in business, whether because of class, gender, ethnicity, age or a participation-limiting condition.
‘We received a fantastic set of entries’, Sam Rowe, CEO of Istoria Group commented ‘and were inspired by the number of amazing women out there fighting for social progress and to diminish inequality. We picked four finalists, all of whom were highly deserving, but in the end it was Devon Lowndes who stood out because of the clarity of her vision, her commitment and ambition. I am quite sure that as well as helping Devon move forward, we will also learn a great deal ourselves in the process, with that knowledge also going on to benefit our agencies and our work across the board.’
‘I’m absolutely thrilled to have won’ Devon Lowndes commented, ‘especially having met the other great finalists at the announcement ceremony! For me, one of the best things about Istoria Group’s Incubator Hub programme is how accessible it was to apply for as a person with ADHD. I could tell at once it was a friendly and accessible organisation with a really open outlook. I know it’ll be an environment that offers trust and flexibility, as well as creative and business expertise. I can’t wait to be part of it!’
The competition was judged by:
Cecilia Thirlway, Senior Lecturer in Entrepreneurship at the Centre for Innovation and Entrepreneurship at the University of Bristol
Matt Rogers, Head of Development at Babbasa
Istoria Group CEO Sam Rowe and Istoria Group Chief Marketing Officer Lindie Kramers.
The four finalist companies and initiatives were:
Better Together’s Founder Angela Loveridge helps parents keep children safe online by signposting them towards practical tools, techniques and resources, facilitating safe spaces for those awkward safety conversations and coaching parents so they are empowered to respond, not react, in a way that will keep channels of communication open and permit constructive conversations. Angela’s innovation is to recognise that people have very different parenting styles, meaning safety guidelines need to be approached without judgment and aligned with the unique needs of their child or children.
https://btogether.org.uk/
Bristol Achieve, founded by Hetty Brown, recognises that one of the biggest problems facing British schools is the gap between rich and poor and its subsequent effects on educational attainment and social mobility. This action-based business aims to increase the educational attainment and life opportunities of young adults with academic potential, so that they thrive in whichever life path they choose. Hetty and her team’s innovation is to promote peer mentoring and focus on essential life skills, as well as encouraging reading for pleasure, proven to improve academic achievement.
https://bristolachieve.com/
Nicoleta Moldovan and Begumhan Girgin of Sassy Sisters Studio have founded a new creative agency offering graphic design services, advertising and marketing, motion graphics, packaging design, publications and typographic design. They are two hardworking women/mothers with diverse creative backgrounds, who switched careers, went back to university, and completed their education in order to follow their vision. At their studio, they produce meaningful designs for businesses, charities, and non-profits while prioritising sustainability and women’s empowerment.
http://www.sassysistersstudio.com/
Self Agency was founded by Devon Lowndes to improve the lives of neurodivergent people in the Bristol area. The CIC-registered (Community Interest Company) agency offers organisational neurodiversity cultural development and neurodivergent community building. Devon is on a mission to educate people about neurodiversity and to further her vision of everyone embracing every mind equally and realising the positive impact an all-inclusive environment can have on individuals, communities and businesses. Devon advises organisations on best practice and is working with Bristol City Council as their sole neurodiversity champion. Her vision is to make Bristol THE neurodiversity city in the UK.
https://www.self-agency.org/
Launched in 2018, Studio Floc is the brainchild of our founder Florence Cassell. Armed with a loyal iMac and a vision to design for good, she started the journey that we’re now on as a growing (and currently fully female) team – supporting great people doing great things in the world through effective and beautiful design.
We’ve taken the time out of our regular routine to learn from her experience and be encouraged by a real life, real time example of a female business owner.
What inspired you to set up your own agency?
Hello everyone – Florence here! Great question – two key things come to mind. Firstly, my experience of starting out as a designer was a tough one. Most of the agencies I worked in created harsh and very isolating environments. I’m grateful because I did learn a lot in those early days but I believed it was possible to have an encouraging and honouring studio culture whilst still achieving excellence. This inspired me to start Studio Floc. My aim is to create a place where my team and I work hard and efficiently whilst also encouraging and supporting one another.
And then secondly, I’m passionate about playing my part in making the world a better place and love to use design as a tool to do that. Last year we had the privilege of rebranding Love Your Neighbour, an incredible charity who are committed to helping people overcome pressing social challenges by tackling the root causes of poverty through crisis support, debt advice, employment training and community care. We’ve been able to give them a visual language to communicate their message effectively in order to impact more lives. So good. I appreciate that we’re only one agency empowering a select handful of clients but imagine the world we’d live in if everyone played their part.
What has been your biggest challenge as a female founder?
When I was about to start Studio Floc back in 2018, only 16% of founders in the UK were female. I was surrounded by and learned from men. Don’t get me wrong, I learned a lot from those guys and many of which I still turn to for advice and are supportive in all I do. The presence of men has never been the issue, it has been the lack of women to encourage, trail-blaze and to be inspired by that has made the journey more difficult.
What has been your biggest learning point as a female founder?
I continue to lead the business that I feel called to run even though historically (and sometimes discouragingly) the odds aren’t stacked in my favour. Oh and the other thing is that Imposter Syndrome is a bitch. It has taken me a while but I’m still improving my ability to differentiate the helpful, guiding voice in my head from the unhelpful, self-doubting one. If you’ve got the tools there in front of you but need that extra push of confidence, just be bold and go for it.
I would highly recommend checking out Craig Groeschel’s book ‘Winning the war in your mind’ if this is something you struggle with.
Do you have any advice for women starting out in business?
Three key things – firstly, surround yourself with a support network of friends/mentors who will encourage you on the journey. Secondly, never stop learning. And thirdly, in my experience, more often than not, people respond to expertise delivered with confidence, not gender.
Driven by purpose, we use creativity to enable the makers, equip the innovators and empower the world-changers. We specialise in branding, print and digital design.
Have questions for our founder? Looking for help with branding, print or digital design work? Let’s chat! Get in touch at [email protected]
As a copywriter with over 20 years in the business, I got to thinking whether my writing has got better with age (of course it has!) and if so, how. Should companies looking to utilise a good copywriter for their business blogs or feature articles look at how many years’ experience their potential freelance support can bring to the table, or is it null and void?
I think it matters. That’s not to say that people just starting out also aren’t good at the job, but as with many industries (and wine and cheese) writing gets better with age. And here are a few reasons why.
Vocabulary tends to improve the older we get because we have met more people and read more books. Both of which are proven ways to extend your vocabulary.
Self-confidence also gets better with age, which helps in the work environment because you are secure enough to make suggestions, but also have the confidence to listen and take a brief, without feeling the need to prove how much you know.
Experience may be an obvious one to add to the list, but it’s important. The more customers you have worked with, the more situations you have been exposed to, and the more types of writing you have done, the more capable you will be handling incoming work. You may not have experience in a specific field, but perhaps you are well rehearsed in researching topics and knowing where to find the information you need, and how to transform these newfound facts into compelling copy.
Decision making is another trait that improves the older you get. In a study published by Psychological Science, it was found that the insight and life experience of adults led to the ability to make quick decisions. You may think this isn’t relevant for copywriting, but as any long serving copywriter will tell you, writing a piece of copy requires multiple decisions. What is the tone of the piece? Where can I find the best information for this article? How much detail should I include to make best use of this business blog?
Empathy might sound like another odd trait to include in a list about how copywriting improves with age, but employing a copywriter that can truly put themselves in your shoes to understand what you need from them, and more so, in the shoes of the prospects and clients you’re looking to reach with your copy, is invaluable.
Speed is something else a more experienced copywriter can bring to the table. Being able to write quickly, while still delivering on target content with very few if any mistakes, is a difficult skill to foster. It’s something that can only be developed over time as experience helps you produce copy quickly and effectively.
This list is by no means exhaustive, but from personal experience they offer a good overview as to why copywriting gets better with age. I remember when I started writing very basic press releases back in 2001, it would take me quite a long time to put pen to paper, and then I would be so nervous about getting it wrong, I would read and re-read the piece until I couldn’t see the letters on the page! Over time, I have learnt what works and what doesn’t when producing copy, I understand the importance of listening to what clients want and not assuming I know more about their business than they do. I have also learned how to hone the process of writing to ensure I deliver my best work, and I am more confident because of the experience I have obtained over the years.
So, if you’re looking for a copywriter for your business blogs or feature articles, and you want to be guided by someone with a bit more experience, let’s chat!
Visit www.blogwrite.co.uk for more information
We all know that the shorter working week has had proven success in other countries. 86% of Iceland’s workforce, for example, have either moved to a shorter working week or have the right to request shorter hours. So as Bristol tentatively dips its toe into the sea of change with a pilot scheme rolling out across businesses in the city, here we are five years into our four-day working week with some (hopefully) helpful reflections.
Why did we do it?
Life is short and we want it to be excellent. Every bit of it. We’ve found that since allowing more space for our brains to process, stray, absorb and even rest (what a thought, we know) this has enabled better ideas to flow, calmer attitudes to influence the team and ultimately a higher level of productivity during the time spent at our desks. Don’t get us wrong, we believe in working hard to deliver excellent, refined work – the only difference is that we think it can be achieved successfully within four days. No extra hours, just four normal days.
How does it work for our clients?
From a client’s perspective, you wouldn’t know any different. At the start of every project we create a timeline that our clients are happy with and that’s the timeline that we work to. Emails are answered from Monday to Thursday and we’re here to chat over the phone on any of those days too!
How does it work for the team?
Every team member works the same four days which allows for collaboration and efficiency. What each team member does on Fridays is completely up to them. And then after a year of working for Studio Floc, all staff get paid the equivalent of a five-day working week for just four days. It’s our way of saying thank you for the hard work that everyone puts in.
A win-win
Excellence can be achieved in so many ways. For us, a four-day working week helps us accomplish this – and we don’t just mean in the workplace – but in every aspect of our lives. we would consider that a win-win.
Driven by purpose, we use creativity to enable the makers, equip the innovators and empower the world-changers. We specialise in branding, print and digital design.
Have questions about our four-day working week? Looking for help with branding, print or digital design work? Let’s chat! Get in touch at [email protected]
Our identity and brand: how we’ve chosen to show up and what it says about us.
We were well aware that when a new company sets up, there’s immediate reaction to the name and in particular the logo. Whether conscious or sub-conscious, it can leave a lasting impression.
So we sharpened our pencils!
And as you can see, had a great time exploring a lot of versions and iterations to land on a logo we felt represented what Studio Every is all about and the topics we care about.
Whilst most of the challenges we hope to address at Studio Every could have serious impact on many people, that didn’t mean we had to be too stuffy with how we show up.
The balancing act was creating type that was approachable and legible, but that also had a flicker of playfulness and a human aspect: our view is that creativity, even when subtle, can make a meaningful difference.
Our eyes gaze to the horizon of a brighter future with sustainable and inclusive solutions at its heart and our E is framed with a ‘sunrise’ circle hinting at the hope and positivity that a new (every) day can bring.
JonesMillbank, Bristol-based video production company, has successfully won a contract with University of Southampton to produce their flagship undergraduate campaign video.
The multi-channel campaign will launch ahead of the University’s 2024 recruitment campaign, bolstering and highlighting their existing reputation and global rankings.
JonesMillbank were invited to a competitive pitch for the opportunity, reflecting their growing experience, insight and reputation in the higher education sector. They join existing clients including the University’s of Bristol, Exeter, Winchester and Central Lancashire.
“We’ve worked in the education sector since day one and we absolutely love working with universities; the challenge of engaging and communicating with an ever-changing, dynamic audience is one our strategists and creatives relish” said Russell Jones, Director at JonesMillbank.
“University of Southampton chose us for our bold, creative and impactful concept, and we’re incredibly excited to be given the opportunity to bring it to life.”
University of Southampton is one of the world’s leading universities, placed in the top 100 universities globally in QS World rankings. They are also a founding member of the Russell Group, an organisation of 24 top UK universities committed to maintaining the highest research and teaching standards.
***
JonesMillbank are a full-service video production company.
They work in-house with a talented team of multi-disciplined creatives, telling authentic stories for a range of clients such as University of Bristol, IDLES, NHS England, The Royal Mint and Battersea.
jonesmillbank.com
01173706372
[email protected]
Eat Curious is on a mission to help everyone discover new ways to eat healthy and delicious plant-based food, without taxing the planet. They put curiosity at the heart of everything they do. So much so, they’ve built their own vertical farm – a near-off-grid, plant playground built to research how to add even more flavour, nutrition and sustainability to the way we all eat.
As a new player in a growing market, our challenge was to create a B2B brand – ready for consumer rollout in the near future, that stands out in supermarket aisles and confronts the preconception that plant-based food means a compromise on taste.
Following an in-depth research and strategy phase, Fiasco cooked up the brand idea ‘Flavour favours the Curious’. This was driven by the insight that many of us seek out meat-alternatives out of curiosity. Eat Curious serves to empower people to eat better, healthier, and more sustainably.
Unlike some of their competitors, Eat Curious isn’t crusading against the meat industry. Whether you’re veggie, vegan or flexi, it’s time to open the freezer door and feed your meat-free imagination.
Fiasco developed a visual language for the brand that’s full of flavour. Utilising Obviously from Oh No Type Foundry, the brand font is unapologetically bold, with luscious curves and details that are good enough to eat. This is complimented by a colour palette that’s energetic and packs a punch, inspired by the different flavour profiles of their products.
Mouth-watering photography heroes the product, showcasing plant-based foods as a delicious choice in their own right. Celebrating look and taste, playful repeating patterns echo the food’s ‘unreal’ texture and add visual intrigue.
Products are shot individually to be utilised on the website for a playful user experience; with cutouts also appearing across social media and packaging. Colour is used to signify the food type and help create ranges of products that sit well together on the shelf.
Fiasco worked with Madrid-based illustrator, Miguel Angel Camprubi, to push the brand narrative further. A vibrant suite of illustrations reinforce the feel-good nature of the brand and help to visualise the overarching theme of curiosity. Illustrated characters on the site lift the brand off screen and work to position sustainable eating as accessible for all.
Working with the team at Eat Curious, Fiasco are helping with the roll out of the new brand which includes a digital home that’s vibrant, bold and playful. Curious and unexpected interactions drive the brand narrative, whilst a set of motion principles add extra flex to typography and illustrative elements.
“Thanks to Fiasco, We now have a brand that reflects who we are as a company and what we stand for. The entire Fiasco team were excellent to work with and their level of creativity, attention to detail and commitment to excellence has made all the difference. We are confident that our brand will continue to thrive and grow under their guidance and we are excited to see where our partnership will take us in the future.”
Preyesh Patel – Co-Founder, Eat Curious.
“Energy, open-mindedness and optimism. The Eat Curious team have it in spades – and this directly translated into the way we worked together, and the work itself. We designed the brand as the business was taking shape, which gave us an opportunity to use our creativity at every step. A dream project.”
Chris Tozer – Associate Creative Director, Fiasco Design.
You can view the full case study here.
Chancellor Jeremy Hunt delivered the government’s 2023 Budget on 15 March. Here’s a round-up of measures relevant to businesses in the creative industries.
If you’re a Bristol Creative Industries member and you’d like to share your view on Budget 2023, email Dan.
Describing his speech as a “Budget for growth,” Jeremy Hunt referenced the creative industries twice:
“Our film and TV industry has become Europe’s largest, with our creative industries growing at twice the rate of the economy.”
“I also want to make our taxes more competitive in our life science and creative industry sectors.”
In the full Budget document released after the speech, the government references the creative industries as being one of the five sectors it is focusing on for growth. The others are green industries, digital technologies, life sciences and advanced manufacturing.
The document says:
“The government will turn its vision for UK enterprise into a reality by supporting growth in the sectors of the future. There are opportunities to accelerate the progress of the technologies that will define this century by encouraging investment and smarter regulation.”
In terms of specific announcements for the creative sector, the Budget includes the following:
The government is reforming audio-visual tax reliefs into expenditure credits with a higher rate of relief than under the current system. This follows the government’s consultation last year.
The changes are as follows:
- 34% credit rate for film and high end TV and 39% for animation and children’s TV via the Audio-visual Expenditure Credit
- 34% credit rate for eligible video games projects via the Video Games Expenditure Credit
For the Audio-visual Expenditure Credit, the minimum slot length for high end TV will be reduced to 20 minutes, and applied on an episode-by-episode basis.
The government will put a definition of ‘documentary’ into legislation based on guidance by the British Film Institute (BFI):
“a factual or realistic programme based on real events, place or circumstances and intended to record or inform.”
The documentary definition will apply to the audio-visual expenditure credit and the current high end TV tax relief.
Final wording and exclusions to the definition will be published as part of draft legislation in Summer 2023 for comment.
The £1m per hour expenditure credit threshold for high end TV will remain unchanged.
Eligibility criteria for the Video Games Expenditure Credit will require a minimum of 10% of expenditure to be on goods or services used or consumed in the UK.
The new expenditure credits can be claimed from 1 January 2024, but there will be a transition period to allow companies to adjust:
- From 1 April 2025, claims for new productions and games must be made under the expenditure credits system.
- Film and TV productions that have begun but not concluded principal photography, and video games that have begun but not concluded development on 1 April 2025 may continue to claim relief under the current system until 31 March 2027.
- Any expenditure incurred from 1 April 2027 must be claimed under the expenditure credit regime.
Commenting on the change, Ben Roberts, CEO of the BFI, said:
“We welcome the chancellor’s news of the reformed expenditure credits across our screen industries, a testament to how crucial they are to the UK’s economy and growth. Combined with our extraordinary talent, infrastructure and technical and creative expertise, the screen sector tax reliefs – now remodelled as expenditure credits – have super charged our industry on an unprecedented scale.
“The news will ensure the UK remains a truly globally competitive production hub, giving us economic recovery and growth, creating thousands of jobs for people up and down the country and enabling creative talent and storytelling to thrive. It’s good news that the high end TV threshold has been preserved.
“I am particularly heartened to see a much needed boost for children’s television and animation as two areas of cultural and societal importance in which the UK excels creatively, but that still have significant growth potential.”
The temporary higher headline rates of relief for Theatre Tax Relief (TTR), Orchestra Tax Relief (OTR) and Museums and Galleries Exhibitions Tax Relief (MGETR) will be extended for two years from 1 April 2023
The headline rates of relief for the TTR and the MGETR will remain at 45% (for non-touring productions) and 50% (for touring
productions). OTR rates will remain at 50%.
From 1 April 2025, the rates will be 30% and 35%. On 1 April 2026 the rates of relief for TTR and MGETR will return to 20% and 25%. The headline rates of relief for OTR will return to 25%.
The government said its new chief scientific adviser, Professor Dame Angela McLean, will oversee a review into the creative industries.
In the November 2022 Autumn Statement the government said that from 1 April 2023 the SME research and development (R&D) tax relief scheme will decrease from 130% to 86%, while the SME credit rate will decrease from 14.5% to 10%.
This led to criticism from many organisations about the potentially negative impact on UK innovation. In response, the 2023 Budget includes the launch of a new SME R&D scheme from 1 April 2023 although it only benefits around 20,000 businesses. Loss-making companies that spend at least 40% on R&D will be able to claim £27 from HMRC for every £100 of R&D investment.
Among the businesses the government says will benefit are around 4,000 digital SMEs from the computer programming, consultancy, and related activities sector.
Speaking during the Budget, Hunt said:
“To strengthen our position in artificial intelligence (AI), in which the UK hosts one third of European companies, I’m accepting all nine of the digital technology recommendations made by Sir Patrick Vallance in the review I asked him to conduct in the Autumn Statement.
“I can report that we will launch an AI sandbox to help innovators get cutting edge products to market. We’ll work at pace with the Intellectual Property Office to provide clarity on IP rules so generative AI companies can access the material they need. And we’ll ask Sir Patrick’s successor Dame Angela McLean to report before the summer on options on growth duty for regulators.”
The government will also award a £1m prize every year for the next 10 years to researchers that drive progress in critical areas of AI. It will be known as the ‘Manchester Prize’, named after the world’s first stored programme computer which was built at the University of Manchester in 1948.
Creative businesses and individuals from the south west who take part in Edinburgh’s annual festivals may be interested in new government funding of up to £8.6m.
The Budget said the money “could help build a permanent headquarters for the Edinburgh Fringe Festival and create year-round opportunities for local artists and talent across Edinburgh festivals”.
Although none are in Bristol or the south west, there could be some benefits for local businesses with connections or offices in the regions chosen for the government’s new investment zones.
The zone will focus on the government’s “priority sectors”, which includes the creative industries. They will each receive £80m for tax reliefs, improving skills, providing specialist business support, improving the planning system, or boosting local infrastructure.
The English zones will be in:
The following are announcements not specific to the creative industries but are of interest to businesses in the sector.
The previously announced increase in corporation tax from 19% to 25% for businesses with profits over £250,000 will go ahead as planned from 1 April 2023.
Companies with profits of £50,000 or less will continue to pay corporation tax at 19%. Companies with profits between £50,000 and £250,000 will pay tax at the main rate reduced by a marginal relief providing a gradual increase in the effective corporation tax rate.
There is more advice on what the corporation tax changes mean for businesses in this post.
The £2,500 Energy Price Guarantee (EPG) for households in Great Britain has been increased for another three months from April to June.
No new energy support was announced for businesses. The Budget confirmed that the Energy Bills Discount Scheme will replace the Energy Bill Relief Scheme from 1 April. The new scheme, which runs until 31 March 2024, is significantly less generous.
Jeremy Hunt announced several measures aimed at helping the unemployed, parents and the over 50s to get jobs or increase the hours they work.
This includes extending free childcare to working parents of children from nine months old. The changes will be rolled out in stages:
For the over 50s, new ‘returnerships’ will bring together the government’s existing skills programmes. They will promote accelerated apprenticeships, Sector-Based Work Academy Programme placements and Skills Bootcamps to the over-50s.
All the labour market announcements in Budget 2023 are outlined here.
In a shift to focusing on local authorities having powers to deliver activity such as business support, the government said it intends, subject to consultation, to withdraw all remaining central support for Local Enterprise Partnerships from April 2024.
The Budget said: “The government is committed to empowering democratically elected local leaders at every opportunity.”
The new full expensing 100% first year allowance will be introduced from 1 April 2023 until 31 March 2026. This means that companies across the UK will be able to write off the full cost of qualifying main rate plant and machinery investment in the year of investment.
The annual tax-free allowance for pensions will increase from £40,000 to £60,000.
The £1.07m lifetime allowance will be scrapped completely. This is the maximum amount of tax relievable pension savings an individual can benefit from over the course of their lifetime.
If you’re a Bristol Creative Industries member and you’d like to share your view on Budget 2023, email Dan.
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